Cover image for Frank Gehry, architect
Frank Gehry, architect
Ragheb, J. Fiona.
Publication Information:
New York : Guggenheim Museum Publications, [2001]

Physical Description:
390 pages : illustrations (some color) ; 28 cm
General Note:
"Published on the occasion of the exhibition Frank Gehry, Architect. Organized by Mildred Friedman and J. Fiona Ragheb. Solomon R. Guggenheim Museum, New York, May 18-August 26, 2001. Guggenheim Museum Bilbao, October 29, 2001-February 1, 2002"--T.p. verso.
Format :


Call Number
Material Type
Home Location
Item Holds
NA737.G44 A4 2001 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



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Author Notes

Jean-Louis Cohen is an architect & historian. He is a professor at the Institute of Fine Arts at New York University & the director of the Institute Francais d'Architecture. He specializes in the twentieth-century architecture & urbanism of Europe & the United States.

(Bowker Author Biography)

Reviews 3

Booklist Review

Ragheb's catalog for the first large-scale exhibit of Gehry's work in 15 years includes essays by architect-scholars Jean-Louis Cohen, Beatriz Colomina, and William J. Mitchell that thoroughly analyze the Los Angeles-based architect's vision and daring over 40 productive years. This international touring exhibition traces Gehry's development from his earliest residential projects to his most recent and controversial public buildings. Included is his best known: the Guggenheim Museum Bilbao (1991-97), a creation of limestone, glass, and titanium that brought the architect worldwide renown. Since Bilbao, all of Gehry's projects get a lot of attention, including the Nationale Nederlanden Building (1992-96) in Prague, the Experience Music Project (1995-2000) in Seattle, and the DG Bank Building (1995-2001) in Berlin, each assessed in detail with photos, drawings, plans, and scale models. Major projects in progress, such as the Ray and Maria Stata Center (1998-) at MIT, are also discussed. With a biographical chronology, a listing of projects, and a bibliography, this is an essential addition to the architectural shelf. --Whitney Scott

Library Journal Review

Frank Gehry represents a paradox in architecture. Embraced by established financial and cultural institutions, his work is also viewed as avant-garde. Gehry first drew notice with his original use of ordinary materials, then progressed to nonorthogonal undulating forms, often employing a reflective titanium cladding. His highly sculptural buildings develop from lively, fluid sketches and study models that often include crumpled paper. All of this is ably presented in an exhibition at New York's Guggenheim Museum, for which this publication is the exhibition catalog. The primary didactic materials from the exhibition form the text, supplemented by five important essays: Mildred Friedman writes on the scope of Gehry's career, Beatriz Colomina offers an exhaustive analysis of his Santa Monica house, Cohen examines his urban work, J. Fiona Ragheb provides a comparison of Wright's and Gehry's approaches to form, and William J. Mitchell explains Gehry's dependence on computer-assisted design and modeling. Although the color illustrations are lavish, the photographs of models are poorly resolved, and there are virtually no floor plans. The book complements but does not supersede Francesco Dal Co and Kurt W. Forster's more discerning Frank O. Gehry: The Complete Works (Monacelli, 1998); nonetheless, this volume should be acquired by larger architecture collections. Paul Glassman, New York Sch. of Interior Design Lib. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Gehry is the current hot architect, and this is a current comprehensive review of his work. Published in conjunction with an exhibition of his work at the Guggenheim Museum in New York, this is more than a catalog. As a catalog, it is very good, with the book's first two-thirds presenting visual and verbal information about 41 of his projects, ranging from his early houses and cardboard furniture from the late 1960s to his latest disappointment, the recently rejected design for a new tall building for the New York Times. The rest of the book presents readable essays by five critics and academicians, biographical and bibliographical information, and useful technical details and credits for the works in the catalog. A sturdy binding, excellent photographs excellently reproduced with almost all in color, and easily comprehensible design all make this an attractive if very hefty book. Good value for the money, it will remain a standard reference for some time. General readers; undergraduates through professionals. C. W. Westfall University of Notre Dame